![]() ![]() ![]() The cookie is used to store the user consent for the cookies in the category "Other. This cookie is set by GDPR Cookie Consent plugin. The cookies is used to store the user consent for the cookies in the category "Necessary". The cookie is set by GDPR cookie consent to record the user consent for the cookies in the category "Functional". The cookie is used to store the user consent for the cookies in the category "Analytics". These cookies ensure basic functionalities and security features of the website, anonymously. It follows the scale, just adding a chromatic note between 3 and 4.Necessary cookies are absolutely essential for the website to function properly. Last 4 bars we have Gm7 C7 to F, first we play a bass line which is very common. then 1F 2G 2# G#, chromatic approach note to Aminor7b5.Īs the next 2 chords Aminor and D7 last only 2 beats each, we’re going to just use A, then tritone for it, leading chromatically to D from above, then D and the 3rd of the chord F#. We then start the 5th bar with the notes of a Bb triad, leading to Bdim chord, where we again use the note of the diminished, last note being b natural, which gets us nicely to C, the 5th of the F chord. It gives an interesting colour, and creates a good foundation for this bar, which resolves to the 4, Bb. This is something that for Ray Brown used – for example – among others of course. This kind of line that starts from a note other than the main triad notes 1, 3, or 5. Then 5, 1 back to 5 and 1 an octave higher, from where we start the with Eb, the 7th of the F7 chord, or 3rd of the Cm7. We start with a simple 1-5-1 octave higher and then the 3rd of the chord leading chromatically to the 4 chord – Bb.Ĭontinuing with repeating the notes Bb and B which leads us to the 5 of the F chord in the 3rd bar. ![]() The bassline we cover is a combination of several bass lines I have transcribed from the bass players mentioned below. If you are not familiar with these voicings, check out the “Related Lessons” section for detailed tutorials on how to learn and master these useful jazz piano voicings. Right-Hand VoicingsĪs this is a lesson about the baseline, we will be using only basic rootless voicings in our right hand for the following chords in the F Blues: Walking bass lines are a fascinating part of jazz, as they support and mark the harmony underneath the chords and melody. In this 5 minute masterclass, we’re going create a bass line over a blues in F. ![]()
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